Hack Your Light

Lesson 14 of 14

Hipstamatic Shoot

Hack Your Light

Lesson 14 of 14

Hipstamatic Shoot

Lesson Info

Hipstamatic Shoot

In the newsstand there's amazing called snap this is this month's issue um it's going to cover this is a magazine put out by hips dramatic and there's a new app called gold g l in the hips thematic just the systematic app on your iphone that is like a camera so these we just shot this the other day also the iphone and but what it is about dating musicians you know so what's the guitar player without a girlfriend stuff like that let me also the iphone the bar hooking up really hooking up in the dirty bathroom he's singing to her yeah that's my take on a home in needham picture where she's kind of doing the you know and then the last picture where you kind of do something like this right now. Okay um so just to show you it's still it's all about lighting all about lighting and right now we're just gonna use this dread it and where is their model one over no guitar let's just hold it up. You know, I'm gonna have you guys like sit down like right here would be just kind of rock and roll ri...

ght? And I want you just to kind of get all them they're right and then we're going to get this pretty close so it's all about what you look at me all right there we go and ten percent battery power left late there is ok turn over there check it out three t one yes let's look at it home it takes a while shooting like a high rose image I've got fourteen by fourteen inch prince made with the iphone that we digitally put on a digital negative forget silver gelatin prince of an iphone picture pretty cool thanks to my friend pierre room for doing the digital negatives and come on you show up at three oh that's why I was actually had multi exposure can we get hurdle like pull her dress up a little bit but I'm not even shooting there it's not even yeah well look kind of uh right there are other also looked right straight here straight here straight to me good good also kind of like a rock star yeah just like that also love it love it here look out that way you know care it's not about that you know care unit here okay look at each other slapped him almost laughing like movement and move it right you're slapping you know how to do this right? Slap him with your other hand other hand back in in one two three go no you're supposed to do that you know and you're supposed to daniel move like oh ok home on home a one two three go okay so what we'll see we're getting I mean it's like like my phone shots I just picked a film in a thing likely that's kind of cool. All right, let's, back off the light a little bit. That is my favorite lines look like you're ready to do the same thing you just did. And look here with you about it. One more hold still. Okay. Hopefully we still have enough juice in this thing. Toe matter. Yeah, that looks pretty cool. Check my iphone. Ah, graffiti. But editorial actually get paid for them in the cool. Getting paid for an iphone. Yeah, yes. Ok, that looks even cooler than the last one. I just shot what I gotta do, sir. I got power. All right, cool. And there you have iconography. You guys are awesome. Check that out. You only get a shot of you standing because he's been so cool and only we're ready. We're gonna rock this. Yes. How do we do it? Give it to you. Are we cool for running over just a little bit? Like you was looking at me on that. You've seen red lights popping a chuck when you're not using the iphone. Yeah, do use andy filters? No. Ok. Any other kind of modifier? Where you gonna try and bring that light down? No, oh, I like him the filters. I just haven't worked out the money like the variable winds. There's one that's like a variable eight stop. When it's really cool that I've been really wanted by but it's like one hundred someone it's. Pretty expensive. Uh, no. It's. Yeah, they're cool. We just try to use one the other day in new york with my friend neal van niekerk and they were shooting portrait. Some people probably saw that online for turning. Me and my son were trying to blur the traffic. And we used the indeed filter was, like ten stopping the filter. And it was so dark and were flashing, everything went away. There were no people. There was no traffic. It was like us on the, you know, that's, how you get those shots that makes new york look like there's? Nobody there because the people move in and out of light so quickly that they never register on the film. But the flash captured us. So if that makes sense, you know, I used to do that. It's a real something. A lot of people know that you put that camera on a long exposure and lit immediately. And people I can go around and flash people, but I can walk around. And you'll never see me because lights not registering on me a long enoughto yeah that could be fun that was awesome I know that we have a lot of people around here who are really into I photography and really enjoy the mobile is this something you do a lot or oh my god you know I obviously I mean I've had two editorials now with that magazine and they encourage and look it up snap and their new after you go I hope you don't mind me talking about this but it's like it's dramatic but it's like a kind of like an instagram and let you share with all the different things that rocket no okay um so but it allows you if it makes you symptomatic the usual thing allows you to change like after you take the picture you can change your film and windows and see what they did so you don't have to be stuck with one picture and also it's kind of a community all in itself and anyway let's like they'll split like him look this way yeah right there will love it well that back it off just a little bit a little hot keep going keep going also if you go I can change my exposure there we go we'll see if those were looking like that was pretty bright but it's pretty cool mass type you know start to get that okay oh that feels good okay so that's white looking light looking white patterns you know anything with any like any kind of thing just look at the light patterns look how lights falling on and you know this is a perfectly acceptable camera and they're getting better and better rather the fourteen by fourteen was lathon uh three g that was you know now I'm probably get a twenty twenty twenty four by twenty four one of the things that I mean I could shoot tips with some of the aps literally yeah like there's an app called six forty five pro that is just I mean it's got a history monnet you could set your exposures awesome piece of engineering so and you have it with you all the time and I've got it with me all the time I love it but any final thoughts for us before we close out the down you know let's go back to what ryan said you just put the lights up and I know that's kind of a crazy statement but if you understand what light does travels in a straight line you control the power and you kind of shape it and understand what distance to subject does as far as the way background how background gets lighter is you bring it farther away those kind of basic lighting just concepts that are really easy being with light closer you turned the power down the closer the lights off to the shadows the closer the light less influence of house on a background because its powers down right the further back you pull it the higher you got to get it to produce good shadowing if that's what you want the more it's going like the background the higher the power this isn't rocket science at all and I think we try to make it weigh more complicated than it has to be I mean, I made it more complicated than mississippi. We'll let you know greta life check it out, dude, look look that we look at the camera see who blew blight but they're rembrandt light something monster life you know beauty like it's yeah, the backgrounds getting lighter is we pull it off, the background gets darker. I do this to kind of keep the intensity down. I don't look at me if I could figure this out anybody could figure this out the system you know honestly, this offseason mater he's a famous famous famous photographer from way back in the day give a little snippet about like business in this state of photography these days he's got any good looking about an a d a r nato are not like ralph, but like the photographer paris eighteen thirty there was I think and this is paraphrasing like fifteen ten portrait studios in paris eighteen forty there was twenty by eighteen sixty there was over two hundred nate are has a propaganda poster of himself and go find the south and he's flying in a hot air balloon with his camera above all the streets of paris and they've all got photographer photographer, photographer studios so it's like there's so many photography studios and he goes and says this thing basically it's any imbecile and use this term can can learn how to do photography you know the theory of photographer you talk now or the ability in a day because what can't be taught is the feeling of light and what's taught even less is how to interact with your subject because that's what makes it a portrait photographer that's what makes us this can he was like one of the first celebrity and shot the kings and the dukes and that kind of stuff and you know you think about that I've got a nineteen thirty four fundamentals of photography guide by kodak and paid sixteen third paragraph down it says in order to photograph and natural light you've got to be the utmost skill and profession because the light temperature is always changing the conditions are always changing you've got to know what you're doing basically is what it says and then it goes on to say now in the studio situation where you've got electronic lights I mean it's not that difficult because everything's controlled so this is easy going out there is the difficult part it's really changed hasn't it um so I guess that's. Why I think, don't overcomplicate this, turn the light on, turn the power up or down, and find out how you want some of the look and that's your light placement short, broad blue, rembrandt. You know what looks cool, that's it in a nutshell. If I want to light the background with from red eye, go get a red plastic cups and throw a light in the background. You know what? S o that's there's, my closing statement just in playing with stuff what's, this going to dio, you know what's going to do, but I never get to spend the light thing, and we're going to take a light bulb in spinning around someone and what's that going to do, I don't know what's going to do if I shoot through some glass bobble or what's a leaf going to do if I there's so many things you can do to study nature, behold, wonder and you know more power to you.

Class Description

Join award-winning photographer Chuck Arlund for an introduction to innovative lighting methods that result in breathtaking, dynamic images.

Chuck’s methods will enrich the work of a wide variety of photographers, whether you’re a natural light photographer trying to incorporate off camera lighting into your work, a studio photographer wanting to work on location, or a beginner looking to take your work to the next level.

As Chuck guides you through ways to make a photograph you’ve mentally envisioned into a reality, he’ll give you the confidence you need to fearlessly approach approach lighting not as an exact science, but as an art.

SunSoBright

I just watched the rebroadcast of Hack Your Light with Chuck Arlund and at first wondered if I would get anything out of the class as he seemed ADD (he warns you he's scattered and a "blond"...LOL) but I stuck with class and by the end was sad it was over. I have a few years experience in photography so I could perhaps understand what he was teaching better than a true beginner. He gave some fabulous points and even demonstrated how you could overpower the sun with one speedlight something I've only seen others do with a strobe or multiple speedlights. He took some awesome pictures without thousands of dollars in camera and lighting equipment. He explained the difference between the portrait and the fashion look. He showed you could potentially go above your camera sync and still get a decently exposed pictured without high speed sync. Best of all he reminded me of the principles that it's the photographer not the camera/equipment that makes the difference, it's all about the light and most of all photography should be FUN! This was one of the most awesome demonstrations of lighting. I would love take a workshop from Mr. Arlund as he is obviously very talented and passionate about photography and knows his subject even is his explanations aren't practiced. Some found him frustrating; I found him refreshing. If you like experimental you will probably appreciate Chuck Arlund.

DeniseWinters

I have been a pro photographer for 30 years, and I loved watching Chuck and even learned quite a few things. He is creative and enthusiastic, and reminds you to think outside the box and get back to the enthusiasm you had when you first picked up your camera. He certainly knows what he is doing, and he has fun doing it...